FROM   THE   LIBRARY  OF 
REV.    LOUIS    FITZGERALD    BENSON.   D.  D. 

BEQUEATHED    BY   HIM   TO 

THE   LIBRARY  OF 

PRINCETON  THEOLOGICAL   SEMINARY 

95 


DMflf 

Section 


/ 


.  NOV    2    1932  * 


Music  and  Woi\sliipvw,,LFf^ 


u 


PRESIDENT  POTTER  D.D.,  LL.D. 


UNION    COLLEGE 


Article  No.  Thirteen 


FROM    THE 


PRINCETON    REVIEW 


PRICE,    FIVE     CENTS 


THE 

PRINCETON    REVIEW 

For   JULY,    1S79. 

LABOR   AND   WAGES    IN    ENGLAND.      Prof.  THOROLD  ROGERS,   LL.D.,  Urn- 
versity  of  Oxford. 

THE    AIM   AND    INFLUENCE   OF   MODERN    BIBLICAL   CRITICISM 
Rev.   Dr.  E.  A.  WASHDURN,   New  York. 

NEMESIS   IN   THE   COURT-ROOM.      FRANCIS  WHARTON,  LL.D.,  Cambridge. 

REASON.     CONSCIENCE.     AND     AUTHORITY.       Prebendary   IRONS,    D.D.. 
F.R.H.S.,  St.   Paul's,  London. 

THE   ORGAN    OF   MIND.      Prof.   DAVID  FERRIER,   Kings  College,   London. 

MUSIC   AND   WORSHIP.      President  POTTER,  Union  College. 

CHRIST    AND     THE     DOCTRINE    OF     IMMORTALITY.       Rev.    GEORGE 
MATHESON,   D.D.,  Scotland. 

LOCAL    GOVERNMENT:    AT    HOME  AND    ABROAD.      ROBERT  P.  POR- 
TER,  Chicago. 

PHILOSOPHY  AND   APOLOGETICS.      Prof.   CHARLES  W.  SHIELDS,   Princeton 
College. 


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PRINCETON   Ri:v: 

tf    YORK. 


MUSIC   AND   WORSHIP. 

• 

THE  first  and  noblest  use  of  music  was  said  of  old  to  be 
the  offering  of  praise  to  the  Immortals  ;  the  next  the 
purifying,  regulating,  and  harmonizing  of  the  soul.  Worthy 
of  Plutarch,  to  whom  it  has  been  attributed,  this  utterance  is 
surpassed  by  that  in  the  Book  of  Job,  upon  the  creation  : 
"The  morning  stars  sang  together,  and  all  the  sons  of  God 
shouted  for  joy  ;"  for  thus  is  seen  not  only  the  natural  and 
pleasing  but  also  the  divinely  ordered  union  of  music  and 
worship. 

Spiritual  song  and  angelic  and  divine  life  are  revealed  close 
to  our  mundane  being,  so  that  notwithstanding  our  material 
environments,  God  is  not  very  far  from  each  one  of  us.  Around 
this  dim  and  disordered  world,  music  is  sounding  from  the  stars, 
and  the  accompanying  voices  are  those  of  the  sons  of  God. 

Not  matter  merely  moved  by  soulless  laws  and  forces,  but 
circumambient  soul-life  is  disclosed,  realm  on  realm  of  spiritual 
being,  all  centering  in  God.  Not  a  spiritually  void  and  lifeless 
universe  is  this  ;  not  a  reign  of  mere  law  with  motion  in  fixed 
orbits,  and  exact,  remorseless  forces  ;  not  a  scries  of  mathe- 
matically inevitable  processes  alone,  but  a  world  with  attend- 
ant spiritual  life,  a  universe  replete  with  expressive  music, 
rousing  God's  sentient  sons  to  responsive  songs  of  praise. 
11  The  heavens  declare  the  glory  of  God"  in  that  "  their  sound 
is  gone  out  into  all  lands  and  their  speech  to  the  ends  of  the 
world." 

First  heard  at  the  laying  of  the  corner  stone  of  the  creation, 
the  song  has  sounded  on,  until,  at  Christ's  advent,  clouds  open 
and  mortal  ears  are  quickened  to  hear  a  multitude  of  the  heav- 


MUSIC  AXD   IVOR  SHIP.  127 

cnly  host,  with  the  announcing  angel,  now   celebrating  the 
ing  of  the  Everlasting  Corner-stone,  the  birthday  of  the  re-crea- 
tion.     It  is  a  sublime  thought,  a  universe  vocal  with   the  pr 
of  God,  from  planets  and   stars   and  systems  well  as  as  from  the 
answering  voices  of  the  sons  of  God. 

This  assertion  of  the  connection  of  music  and  worship  in  the 
on-going  of  the  universe  is  apparently  much  older  than  the 
most  ancient  literature.  Sages  among  Chaldeans,  Babylonians, 
and  Egyptians,  whose  systems  of  music,  worship,  and  astron- 
omy were  the  result  of  traditions  and  of  long  contempla: 
re-affirm  the  ancient  idea  that  the  motions  of  all  heavenly 
bodies  arc  regulated  by  musical  intervals,  and  that  thus  they 
make  everlasting  harmony.  The  music  of  the  "  cver-during" 
spheres  is  no  poetic  figment.  Originally  Asiatic,  it  passed  later 
with  many  principles  of  knowledge  and  civilization  by  way  of 
Phoenicia  and  Egypt  into  Greece,  and  became  part  of  the 
ancient  thought  and  worship  of  Europe. 

The   doctrine   of  the   music   of   the   spheres   was   accepted, 
according  to  Plutarch,  by  all  the  philosophers  ;    "  for  the  uni- 
verse," say  they,  "  was  framed  and   constitued  by  its  author  on 
the  principle  of  music."      Why  then  does  not   the  ear  perceive 
the  resounding  song  of   the   morning   stars  ?     Because,  was   the 
reply  of  classic  philosophers,  of  the  vastness  of  the  concussion 
of  the  air,  or  because  of  the  distance  of  the  stars  or  the  del  it 
of  their  music,  for  receiving  which  the   cars  of  mortals  are 
adapted.      As  in  many  instances,  ancient  philosophers, 
of  the    Baconian   method   and   of  our  latest   experimental   pro- 
cesses, here  reach  conch:  embling  those  of  1  lelmholtz  and 
Tyndall  and   the   inductions   of  modern  science.     According  to 
the  Greek  Archytas,  our  ears  are  like  narrow-necked  phials 
which,  if  your  pour  too   rapidly,  nothing  will   come.      The  I 
tion  betwen  slow  vibrations  or  movements  and   a 
between  rapid   movement    a  I  pitch  was   anciently  under- 

omachus,    treating    of    the  sea!  I   the   1<> 

note  to   Saturn,  because  of   his   apparently  slow  m<  ■  and 

greater  distance   from   the   sun,  while  the   1  with 

the  string  of   the  lyre)  was   ascribed    to   tin:    mo  : 

nearest  to   the  earth    an  rently  fl  :nent.      The 

telescope  annihilates  distance  ;   the   microscope 


128  THE  PRINCETON  REVIEW. 

of  beauty  and  utility  all  about  us.  If  there  is  a  medium,  how- 
ever ethereal,  sufficient  for  waves  of  light,  must  not  motion 
through  it  produce  sound  waves  or  vibrations  of  sound  ?  As 
there  is  a  medium  for  the  transmission  of  light  from  distant 
stars,  is  it  not  probable,  nay,  in  the  light  of  modern  discovery 
certain,  that  there  is  a  sufficient  medium  for  the  transmission  of 
sound  ?  The  fact  that  the  car  is  dull  of  hearing  is  no  proof 
that  by  inventions  already  suggested,  or  by  the  nobler  powers 
of  the  spiritual  body,  the  soul  may  not  become  consicous  of 
glorious  sound  which  as  yet  mortal  ear  hath  not  heard  nor 
mortal  heart  conceived.  The  Egyptians  ascribed  twenty-eight 
notes  to  the  universe,  that  being  the  number  of  notes  in  the 
scale  ;  while  in  ancient  treatises,  mathematics  and  astronomy 
art  so  mingled  with  statements  as  to  music  that  he  must  study 
them  who  would  possess  all  the  treasures  of  thought  and  speech 
concerning  melody  and  harmony  and  symphony.  Perhaps  it 
was  the  lack  of  such  research  that  led  De  Quincey  to  wonder 
that  upon  a  subject  so  sublime  as  music  there  had  been  so  few 
worthy  utterances.  Without  such  research,  how  marvellously 
has  Shakespeare  caught  and  reproduced  this  ancient  thought  in 
the  familiar  but  exquisite  lines  : 

"  Look,  how  the  floor  of  Heaven 
Is  thick  inlaid  with  patines  of  bright  gold  ; 
There's  not  the  smallest  orb  which  thou  beholdest 
But  in  his  motion  like  an  angel  sings, 
Still  quiring  to  the  young-eyed  cherubims. 
Such  harmony  is  in  immortal  souls  ; 
But  whilst  this  muddy  vesture  of  decay 
Doth  grossly  close  us  in,  we  cannot  hear  it." 

Pythagoras  held  that  the  glorious  sounds  were  audible  only 
to  the  gods  ;  and  Milton  but  re-echoes  a  sentiment  seemingly 
as  old  as  human  thought,  when  he  exclaims  of — 

"  Yonder  starry  spheres 

Most  regular  when  most  irregular  they  seem  ; 
That  in  their  motions,  harmony  divine 
So  smooths  her  charming  tones,  that  God's  own  ear 
Listens  delighted." 

Music  and  worship  then  were  divinely  married  in  the  temple  of 
the  universe.  From  the  first  Scripture  utterances  concerning 
music,  to  the  last,  the  lesson  is  the  same.      In  the  Apocalypse, 


MUSIC  AXD   WORSHIP.  1^9 

worship  by  means  of  adoring  music  is  the  attitude  of  the  saintly 
soul  delivered  from  the  burden  of  the  flesh  ;  not  feeling  solely  ; 
for  although  as  music  is  the  idealized  language  of  the  emo- 
tions, some  of  its  votaries  have  asserted  that  feeling  is  that  into 
which  all  else  fades  in  the  future  life  ;  yet  there  is  clearly  nar- 
rated the  continuance  and  enlargement  of  thought  as  well. 
"Thou  art  worthy!"  is  the  acclaim  of  the  redeemed,  "for 
thou  hast  ransomed  us  out  of  every  kingdom  and  people." 
History  is  revived  while  emotion  and  adoring  song  accompany 
the  most  elevated  use  of  knowledge,  and  express  the  loftiest 
achievements  of  thought.  Thus  as  earth's  history  opens  with 
celestial  music  when  morning  stars  together  hymn  its  advent 
and  sons  of  God  responsive  shout  their  joy,  it  is  also  revealed 
that  it  will  close  with  a  doxology  :  "  And  I  saw  as  it  were  a 
sea  of  glass  mingled  with  fire,  and  them  that  had  gotten  the 
victory  ;  and  they  sang  the  song  of  Moses  and  of  the  Lamb. 
After  these  things,  I  heard  a  great  voice  of  much  people  in 
heaven  saying,  Alleluia  !  And  a  voice  came  out  of  the  throne 
saying,  Praise  our  God  !" 

From  the  earliest  times,  instrumental  and  vocal  music  have 
advanced  hand  in  hand.  If  to  the  hymn  of  creation,  planetary 
systems  sounded  their  accompaniment,  a  union  not  less  signifi- 
cant is  seen  in  the  whole  musical  history  of  our  race  between 
instrumental  and  vocal  music.  If  the  voice  and  vocal  music 
were  among  the  earliest  means  of  expressing  emotion  and 
passion,  so  at  the  dawn  of  the  arts,  where  Tubal  Cain  was  an 
instructor  of  every  artificer  in  brass  and  iron,  there  stands  his 
brother  Jubal  as  "  the  father  of  all  such  as  handle  the  harp  and 
organ. "  Stringed  and  wind  instruments  are  thus  designated  ;  for 
while  the  word  organ  is  used  from  earliest  times  in  the  Bible, 
the  instrument  intended  (as  where  the  Psalmist  exclaims, 
"  Praise  him  on  the  strings    and    pi:  I   a  tube  of  wood  or 

metal,  and  later  several   pipes  extending   to   an    octave  or   two 
joined  together  to  be  held  in  the  hands  and  played  b; 
and  lips. 

Although  the  Egyptians  had  a  limited  but 
of   keyboard,  and    although    their    hydraulic  organ,  admired  by 
the    Greeks,  w.is   quite   like    a   Yankee  notion   in  its  clever  con- 
struction and  use  of  water  in  regulating  the  pressure  of  air  from 
9 


13°  THE  rRINCETON  REVIEW. 

the  bellows,  yet  it  was  of  very  small  capacity.  The  primitive 
organ  is  seen  in  representations  of  the  heathen  god  Pan  ;  and 
Raphael  has  portrayed  St.  Cecilia,  "  inventress  of  the  vocal 
frame,"  holding  the  pandcan  pipes  as  the  Christian  patroness 
of  music. 

As  the  earliest  musical  progress  was  in  the  Orient  and  in 
Egypt,  the  Jews  may  have  brought  instruments  and  a  knowl- 
edge of  their  use  from  Egyptian  bondage  to  be  consecrated  to 
the  worship  of  Jehovah.  The  Te  Deum,  which  celebrated  their 
triumphant  passage  of  the  Red  Sea,  was  "  sung  by  Moses  and 
the  children  of  Israel  ;"  and  while  the  last  notes  of  lofty  praise 
were  yet  sounding,  Miriam  the  Prophetess  took  a  timbrel  in 
her  hand,  and  all  the  women  wrent  out  after  her  with  timbrels 
and  with  dances,  and  Miriam  answered  them,  "  Sing  ye  to  the 
Lord,  for  he  hath  triumphed  gloriously  !*'  Resounding  from 
camp  and  tabernacle  during  their  wanderings,  songs  of  praise 
were  to  find  their  highest  form,  when,  after  the  promised  land 
was  gained,  the  temple  was  reared,  to  be  the  ever,  memorable 
abode  of  worship  and  music.  As  the  simple  organ  of  Jubal 
may  be  called  the  father  of  the  modern  magnificent  church 
organ,  so  some  lineal  descendant  of  his  harp  soothed  the  mad- 
ness of  Saul  and  was  a  vehicle  of  the  inspiration  of  David,  while 
the  ideal  which  its  primitive  form  dimly  foreshadowed  is  found 
now  in  that  most  popular  instrument  of  our  time  which  with 
reverberating  strings  and  brilliant  keyboard  adorns  almost  every 
American  home. 

For  the  temple's  service,  the  inspired  psalms  and  their  in- 
strumental accompaniments  were,  it  would  seem,  alike  com- 
posed under  divine  guidance.  Members  of  the  tribe  of  Levi 
were  selected  by  the  Psalmist  to  praise  Jehovah  upon  instru- 
ments, and  a  great  musical  college  was  thus  founded.  It  con- 
sisted of  four  thousand  musicians,  of  whom  nearly  three  hundred 
were  "  cunning"  performers,  capable  of  educating  the  remain- 
der. They  were  divided  into  bands  of  from  one  hundred  and 
fifty  to  one  hundred  and  seventy  performers,  each  band  being 
under  the  leadership  of  a  competent  conductor.  Asaph  and 
other  leaders,  it  appears  from  the  statements  in  the  fifteenth 
and  sixteenth  chapters  of  First  Chronicles,  marked  the  time  by 
sounding  the  cymbals  ;   the  singers  going  before,  we  arc  else- 


MUSIC  AND   WORSHIP  131 

where  told,  and  these  performers  upon  instruments,  following, 
in  the  midst,  were  damsels  playing  upon  the  timbrels.  So  from 
the  sixty-eighth  Psalm  and  other  passages,  we  infer  that  both 

sexes  participated  and  that  voices  of  singing-men  and  singing- 
women,  accompanied  with  many  hundreds  of  instrument-,  made 
up  the  mighty  chorus  of  the  temple  service.  Stored  in  its 
treasury,  it  is  said,  were  various  trumpets  to  the  number  of  two 
hundred  thousand,  with  some  fifty  thousand  harps,  psalteries, 
and  other  like  instruments.  So  musical  were  the  people  that 
joyous  songs  were  heard  at  weddings  and  festivals  ;  and  wailing 
dirges  sobbed  in  responsive  sorrow  over  the  loved  remains  of 
the  departed. 

The  art  had  its  highest  culture  and   use   in   connection  with 
worship.      David,  welcomed  with  jubilant   som;  his  early 

and  memorable  victory,  became  the  inspired  master  of  sacred 
compositions  so  cherished  that  the  chants  which  he  comp 
and  dedicated  to  his  singers  and  minstrels,  sung  in  the  temple 
and  on  the  field  of  battle,  resounded  from  age  to  age  even 
down  to  the  foundation  of  the  second  temple,  and  again  at  the 
signal  victory  of  the  Maccabean  Army,  and  not  improbably 
when  "  Great  David's  greater  Son"  fulfilled  all  righteousness  by 
Frequenting  the  temple's  courts.  Perhaps  its  traces  linger  yet 
in  synagogues  and  "in  Christian  chants  and  ancient  hymns. 

To  the  attempts  to  prove   that   a  musical  service  of  worship 
is  divinely  ordered  because  of  the  divine  ordering  of  the  temple 
service,  it  is   often    replied    that  the  temple  and  its  service  have 
(1  away. 

agogues  exist   now  as   of  old,   and   although  a  m 
service    with    chant    and    hymn    and   anthem   seems   inseparably 

•dated  with  Hebrew  worship, yet    it    is   agreed    that    tin- 
vice  of  the  synagogue  was  not  of  divine  appointment. 

Hut  music  and  worship  need  for  their   union    no  such  formal 
argument   or  liter.d  sanction  ;    that  union  exists  in  the  nature  of 
things,  has    its    recognition    throughout    the    Scriptures,    is    the 
burden  of  prophecies   of   the   Apocalypse,    is  felt    in    th< 
of  the  soul  and  proclaimed  in    the  highest    efforts  (  f   art,  an 
to  be  I    in  heaven. 

It  is  not  n<  here  the   character   of    the 

musical    instruments   known   to   the   ancients  and   especially  to 


l32  THE  PRINCETON  REVIEW, 

the  Hebrews.  But  with  a  body  of  four  thousand  trained 
musicians,  with  a  collection  at  the  temple  of  tens  of  thousands 
of  instruments,  with  singing-men  and  singing-women  and 
11  cunning"  leaders  and  inspired  composers,  teachers,  and  di- 
rectors, and  a  song-loving  people,  let  who  can  believe  that  their 
music  was  enriched  by  no  harmony,  and  consisted  only  of  melo- 
dy or  notes  in  unison. 

Of  Egypt,  whence  they  came  out  a  musical  people,  Plato  tells 
us  in  his  Laws  that  the  same  sacred  hymns  were  sung  for  thou- 
sands of  years.  Egyptian  harps  had  several  octaves  of  strings. 
Drop  such  an  instrument  accidentally,  and  inevitably  the 
sounds  would  suggest  concords. 

God  gives  human  voices  in  different  parts,  treble,  alto, 
tenor,  bass,  calling  for  harmony.  The  wind  sighing  in  an 
aeolian  harp  or  sweeping  through  a  forest  tells  of  more  than 
melody.  On  every  hand  in  nature  from  the  first,  elements  of 
harmony  proclaim  their  presence  to  the  sensitive  musical  ear. 
And  if  the  ear  and  brain  be  now  more  highly  developed,  the 
difference  is  one  of  degree,  not  of  kind.  While  the  ancients 
had,  it  is  safe  to  assert,  no  such  melody  as  the  aria,  "  I  know 
that  my  Redeemer  liveth,"  and  no  such  harmony  as  that*of  the 
Oratorio  of  the  Messiah,  they  had,  we  may  believe,  the  rudi- 
ments of  both.  I  have  always  found  it  difficult  to  credit  the 
statements  reiterated  by  so  many  musical  authorities,  that  the 
ancients  possessed  melody  but  not  harmony.  As  Ritter  traces 
clearly  modern  harmony  to  its  source,  so  Chappell,  to  whom  I 
am  herein  also  indebted,  is  convincing  as  to  the  existence  of 
ancient  harmony.  From  Egypt,  where  ancient  instruments  and 
musicians  are  so  marvellously  portrayed,  he  gives  many  inter- 
esting instances  and  illustrations.  Harps  and  pipes  with  many 
notes,  and  so  held  and  played,  it  is  said,  as  of  necessity  to 
make  harmony  ;  the  hydraulic  organ  with  keyboard  ;  the  evi- 
dent cultivation  of  music  for  worship  and  social  life  ;  the  repre- 
sentation of  fourteen  performers  making  up  the  vocal  and 
instrumental  establishment  of  an  Egyptian  gentleman  of  the 
older  times  ;  the  curious  caricatures  in  which  Rameses  the 
king,  as  a  noble  lion,  leads  with  the  lyre,  while  one  courtier 
figures  as  a  clumsy  crocodile  playing  a  sort  of  guitar,  another 
as  a  seemingly  deceitful  and  slinking  animal  playing  the  double- 


MUSIC  AND   WORSHIP.  133 

pipes,  and  the  fourth  member  of  the  quartette,  awkward  and 
lumbering,  as  a  donkey  with  enormous  ears,  performs  subservi- 
ently bass  to  the  king's  treble — from  this  and  much  more, 
Chappell  reaches  his  conclusion.  In  answer  to  the  question, 
Did  the  ancients  practise  harmony?  he  says,  "  Undoubtedly 
they  did,  even  at  the  time  of  the  building  of  the  pyramids  ;  it 
is  not  a  matter  of  doubt,  but  a  mathematical  certainty." 

Recalling  passages  in  the  Greek  and  Latin  classics,  th< 
much  to  strengthen  the  conclusion.  The  declaration  of  Aristotle 
in  his  thirty-ninth  Book  of  Problems  is  explicit  :  "  All  consonan- 
ces are  more  pleasing  than  simple  sounds  ;  the  sweetest  is  the 
octave."  Such  figures  of  speech  as  the  following  suggest  an 
acquaintance  with  the  intricacies  of  harmony  as  well  as  with  the 
clear  movement  of  melody.  In  the  second  book  of  his  Repub- 
lic, Cicero  writes  :  "  For  tis  in  strings  or  pipes,  so  in  vocal 
music,  a  certain  consonance  is  to  be  maintained  out  of  differ- 
ent sounds,  which,  if  changed  or  made  discrepant,  educated 
ears  cannot  endure  ;  and  as  this  consonance,  arising  from  the 
control  of  different  voices,  is  yet  proved  to  be  concordant  and 
agreeing,  so,  out  of  the  highest,  the  lowest,  the  middle,  and  the 
intermediate  orders  of  men,  as  in  sounds,  the  state  becomes  of 
accord  through  the  controlled  relation  and  by  the  agreement  of 
dissimilar  ranks  ;  and  that  which  in  music  is  by  musicians 
called  harmony,  the  same  is  concord  in  a  state."  Seneca  thus 
alludes  to  the  mental  influence  of  music  in  portions  of  his 
eighty-fourth  and  eighty-eighth  Epistle  :  "  When  the  array  of 
singers  has  filled  up  every  passage  between  the  seats  in  the  am- 
phitheatre, when  the  audience  part  is  girt  round  by  trumpet 
and  all  kinds  of  pipes  and  other  instruments  have  sounded  in 
concert  from  the  stage,  out  of  these  differing  sounds  IS  harmony 
produced.  Thus  would  I  have  it  with  our  mind 
teach  how  voices  high  and  l<>\v  make  harmony  together,  how 
concord  may  arise  from  strings  of  varying  sounds  ;  teach  rather 
how  my  mind  may  be  in  Concord  with  itself  and  my  thou. 
be  f.ir  from  discord." 

Music  and  worship  of  old  w  not  only  with  the 

melody    and    harmony    of   voic<  I    instruments,  but 

with  the  movement  of  human  forms  and  with    the  light  1 
ficial  fires  and  feasts  with  pyrotechnical  display  ;   SO  that,  should 


1 34.  THE  PRINCE  TON  RE  VIE  W. 

we  have  the  color  symphonies  and  motion  symphonies,  which 
art  prophets  promise,  it  would  still  be  true  that  there  is  nothing 
new  under  the  sun. 

The  definitions  of  musical  terms  among  the  Greeks,  like 
their  musical  scales  and  their  use  of  music,  differ  widely  from 
ours.  The  orator,  as  we  all  know,  took  his  note,  "  tibiis  dex- 
tris  et  sinistris, "  from  the  musician,  and  intoned  rather' than 
spoke  his  oration.  You  may  hear  something  of  the  same  sort 
among  preachers  in  Wales,  or  in  the  preaching  tone  into  which, 
despite  his  disapprobation  of  music,  a  good  Friend  preacher 
often  falls.  Symphony  was  the  expression  for  concords,  while 
harmony  included  both  theory  and  practice,  both  poetry  and  its 
musical  accompaniment.  Melody  with  the  Greeks  indicated  in- 
flections or  undulations  of  the  voice,  whether  in  speech  or 
rhythm  ;  music  included  the  science  of  numbers,  mathematics, 
astronomy,  and  so  much  of  education  as  to  be  called  the  cyclo- 
pedia of  knowledge.  The  young  Greek  was  taught  music  that  he 
might  learn  also  obedience,  since  in  melody,  harmony  or  sym- 
phony, all  is  disordered  and  displeasing  unless  the  laws  ordained 
of  God  are  faithfully  followed.  Plato  held  that  the  influence  of 
music  in  the  education  of  youths  was  as  a  gale  bearing  from  all 
sides  health  from  blessed  regions  and  wafting  them  on  impercep- 
tibly from  boyhood  into  a  likeness  and  love  and  sympathy  with  all 
fair  and  right  reason  ;  since  more  than  all  things  does  it  pene- 
trate into  the  innermost  recesses  of  the  soul,  bearing  along  with 
it  the  love  and  perception  of  beauty  and  order  and  rhythm  in 
whatever"  forms  presented.  Some  years  since,  one  of  our  great- 
est American  scholars,  in  commenting  upon  Plato's  concep- 
tions, spoke  of  the  importance  of  the  early  cultivation  of  music, 
since  it  is  not  only  the  most  perfect  of  the  arts  but  the  most 
spiritual  of  the  sciences,  belonging  to  the  three  grand  depart- 
ments of  knowledge,  pervading  alike  the  physical,  the  meta- 
physical, and  the  mathematical,  and  being  in  close  alliance 
with  the  believing  spirit  ;  so  that  the  neglect  of  music  as  an  art 
and  as  a  science  is,  he  exclaimed,  "  one  of  the  most  serious 
defects  in  our  modern  system  of  early  education  ;  and  we  do 
verily  believe  that  if  the  time  occupied  with  puerile  Peter 
Parley  treatises  on  natural  theology  was  devoted  to  Haydn 
and  Mozart,  it  would  furnish  to  our  children  a   far  more  effect- 


Ml 'SIC  AND   IVORSIIIP.  135 

ual  security  against  infidelity  ;  for  whatever  aids  in  the  cultiva- 
tion of  a  believing  heart  precludes  those  objections  from  ever 
obtaining  an  effectual  lodgment  in  the  soul."  Among  the 
ancients,  music  found  alike  its  earliest  and  its  noblest  us; 
we  have  intimated  in  connection  with  worship.  The  severe- 
chant,  the  more  melodious  hymns  or  prayers,  and  the  dirges  and 
choral  songs,  all  were  sacred  to  religion.  According  to  Plutarch, 
the  art  at  first  subserved  only  religious  purposes.  "Theatres 
were  unknown,  and  music  consisted  of  those  sacred  strains 
which  were  employed  in  the  temple  as  a  means  of  paying  adora- 
tion to  the  Supreme  Being."  Anacharsis,  the  younger,  in  his 
"  Travels  in  Greece,"  in  the  fourth  century  before  the  Chris- 
tian era,  states  of  the  sacred  hymns  sung  by  choruses  of  youths, 
"  that  they  are  so  harmonious,  and  so  well  seconded  by  the  art 
of  the  poet,  as  frequently  to  draw  tears  from  the  greater  part  of 
the  audience. " 

But  the  music  of  the  past  is  one  of  the  lost  arts. 

The  downfall  of  the  Roman  Empire,  the  deluge  of  barbaric 
invasion,  would  have  whelmed  it  utterly  but  for  the  Christian 
Church.  From  ancient  shrines  and  synagogues,  from  the  tem- 
ple, and,  as  we  love  to  think,  supremely  from  the  "  hallel" 
or  paschal  hymn  sung  by  the  Redeemer  with  his  disciples  at 
the  last  supper,  primitive  Christianity  caught  up  and  perpetu- 
ated the  faint  and  fading  sounds  of  sacred  melody.  Pliny  in 
his  well-known  letters  speaks  of  the  hymns  which  Christians 
sang  to  Christ  as  God.  Kusebius  writes  that  "  there  was  one 
common  consent  in  chanting  forth  the  praises  of  God.  The 
performance  of  the  music  was  exact,  the  rites  of  the  church 
were  decent  and  majestic,  and  there  was  a  place  appointed  for 
those  who  sang  psalms,  for  youths  and  virgins,  old  men  and 
youn 

At  Milan,  toward  the  close  of  the  fourth  century,  rose  the 
school   of  Ambrose.     He   collat  ed   hymns 

tunes,  and  fixed,  it  is  supposed,  the  four   diatonic  died 

the  Ambrosian    ecclesiastical    i  His     friend  tine, 

after  hearing  the  music   in   his   chur  '   The  VOi 

flowed    in    at    my  truth    v.  '.led    into  my  Dealt, 

the  i  i  of  piety  overflowed  in  The 

close  of  the  sixth  century  was  made  musically  memorable  from 


I3<>  THE  PRINCETON  REVIEW. 

the  more  extended  and  enduring  efforts  of  Gregory  the  Great, 
who  added  four  more  scales  and  his  Gregorian  chant,  laboring 
ardently  for  musical  education  and  progress.  Schools  in  which 
music  was  taught  were  rapidly  established  in  all  parts  of  west- 
ern Christendom.  The  biographer  of  Gregory  declares  that  of 
all  unpromising  pupils,  the  Gauls  and  Germans  were  the  worst  ; 
"  their  rough  voices  roaring  like  thunder  are  not  capable  of 
soft  modulations  ;  for  their  throats,  hardened  by  drink,  cannot 
execute  with  flexibility  what  a  tender  melody  requires  ;  their 
tones  are  like  the  rumbling  of  a  baggage  wagon  jolting  down  a 
mountain  ;  instead  of  touching  the  hearts  of  the  hearers,  they 
only  revolt  them." 

Charlemagne,  as  the  eighth  century  was  closing,  rose  to 
become  the  great  patron  of  music  ;  but  still  the  singing  was  in 
unison,  and  simple  melody  was  the  substance  of  the  music  cul- 
tivated. True,  Isidore  of  Seville,  the  friend  of  Gregory  the 
Great,  had  written  of  harmony  as  the  unison  of  simultaneous 
sounds,  and  gives  rules  for  the  use  of  harmony.  Lines  for 
musical  notation  were  gradually  introduced,  instruments  were 
improved,  and  at  the  opening  of  the  tenth  century  harmony  was 
brought  into  use  by  the  good  Flemish  monk  Hucbald. 

But  we  may  hot  follow  further  in  this  paper  the  growth, 
from  its  sacred  cradle  upward,  of  modern  music,  which  is 
peculiarly  the  child  of  the  Church.  There  was  an  early  protest 
against  it  from  a  non-Protestant  source.  Pope  John  XXII.,  at 
Avignon,  in  the  year  1332,  writes  as  deeply  displeased  with 
those  who  "  are  captivated  with  the  new  notes  and  new  measures 
of  the  disciples  of  the  new  school,  and  would  rather  have  their 
e;irs  tickled  with  semibreves  and  minims  and  such  frivolous 
inventions  than  hear  the  ancient  ecclesiastical  chant."  The 
Great  Reformer  later  on  was  of  a  different  mind,  declaring  that 
by  the  Gospel,  art  should  not  be  banished  as  some  zealots 
desired,  for  all  arts  and  principally  music  should  be  seen  in  the 
service  of  Him  who  gave  and  created  them  ;  since,  as  His 
greatest  gift,  music  sets  the  soul  at  rest  and  places  it  in  a  most 
happy  mood,  thus  proving  that  "  the  demon  who  creates  such 
sad  sorrows  and  ceaseless  torments  retires  as  fast  before  music 
as  before  divinity."  "  It  is  beneficial,"  continues  Luther,  "  to 
keep   youth    in    the   continual   practice   of  this  art.     A  school* 


MUSIC  AND   WORSHIP.  13; 

master  must  know  how  to  sing,  otherwise  I  do  not  respect 
him."  With  a  musical  education  and  a  musical  ear,  he  felt  that 
not  only  church  doctrine,  discipline,  and  morals,  but  that 
church  music  also  needed  a  reformation.  His  opinion  of  the 
old  church  music  as  rendered  by  drowsy  monks  and  choristers 
found  vent  in  the  characteristic  explosion,  that  it  was  "  a  dis- 
mal ass's  bray."  He  was  untiringly  devoted  to  translating  and 
collating  suitable  hymns  and  tunes.  Words  and  music  of  his 
own  composition  have  come  down  to  us,  such  as  the  noble 
hymn,  "  Ein  feste  Burg  ist  unser  Gott."  lie  demanded  that 
the  words  "  be  worthily  expressed,  not  babbled  or  drawled,  and 
that  the  masses  join  in  the  singing  and  pay  devout  attention." 
What  a  sententious  summary  for  congregational  singing  !  Lu- 
ther was  also  right  in  attaching  great  importance  to  the  words 
and  thoughts  of  hymns,  and  also  to  the  popular  character  of  the 
music.  For  the  Reformation  as  a  popular  movement  demanded 
that  its  hymns  and  tunes,  like  its  translation  of  the  Bible, 
should  be  so  rendered  as  to  be  **  understanded  of  the  people." 

The  chorale  was  a  combination   both  of   the   old  Gregorian 
and   Ambrosian   tone   and   also   secular  melody  and   harmony. 
By  degrees  the  sacred  song  of  the  Protestant  churches  takes  on 
its  distinctive  and  popular  character  ;  simple  secular  tunc 
as  old  hymns  tunes  being  often  adopted  or  adapted.      . 
step  forward  was  made  by  assigning  to  the  people  the  trcbK 
the   more  distinct  and   leading  part,  while   other  voices,    until 
the  organ  came  into  general  use,  sang  the  chords  or  harmony, 

Luther  had  a  hand  in  the  preparation  and  wrote  the  pi 
of  the   first     Protestant    hymnal,    put    forth    in    1324   by   John 
Waiter.      Lucas  Osiander  rendered  great  service  in  his 

book  of  M  fifty  spiritual  songs  and  psalms  set  in  counterpoint 
four  voices  in  such  wise  that  a  Christian  congregation  ; 
join  in  the   singing  throughout."      "  I  know  well  that  com 

ire  in  the  habit  of  assigning  the  chorale   to  the  tenor,  but  if 
this  be  done,  the  chorale  or  tune   cannot  be   distinguished  from 

among  the  other  parts,  the  common  people  cannot  tell  what 

psalm    it    i-^    nor   join    in   the   singin  I    have 

placed  the  chorale  in    tli  .  so  that    it  shall   b. 

distinctly,  and  every  lav  member   cm   sing  too."      I:i    i 
and    Scotland,    in    the    reign    of    Edward    the    Sixth,    met: 


I38  THE  PRINCETON  REVIEW. 

psalms  and  hymns  are  found  in  general  use.  Brought  in  with 
the  Reformation  wave  from  Germany,  they  bore  with  them 
German  chorales  and  other  grand  old  tunes,  vastly  superior  to 
much  of  our  modern  sentimental  or  machine-made  ecclesiasti- 
cal music.  This  power  of  music  over  the  hearts  of  the  people 
has  made  it,  in  all  great  popular  religious  movements,  the  pre- 
vailing clement  in  both  public  and  social  or  family  worship. 
At  the  Reformation,  the  singing  of  psalms,  begun  in  one 
church  in  London,  "  did  quickly  spread  itself  not  only  through 
the  city,  but  sometimes  at  Paul's  Cross  there  will  be  six  thou- 
sand people  singing  together."  Genius,  whether  that  of  a 
great  composer  or  of  common  sense — which  Guizot  has  called 
the  genius  of  humanity — catching  and  making  vocal  the  aspira- 
tions of  the  popular  heart,  gives  us  "  volk"  song  ;  and  the  best 
chorales,  in  clear  and  simple  tones  of  regular  cadence  and 
movement  but  of  tender  and  melting  or  of  rousing  and  inspiring 
power,  may  well  be  called  Christian  "  folk"  song.  The  word 
c/wrale,  a  modification  of  the  word  chorus,  suggests  in  its  Greek 
derivation  a  vast  volume  of  simple  measured  melody  grandly 
accompanied.  Should  the  science  of  music  become  so  ad- 
vanced that  musical  phrases,  like  the  root  forms  of  words,  will 
disclose  history,  ties  of  lineage  perhaps  may  then  be  traced 
between  the  Greek  chorus  and  the  German  chorale,  or  between 
the  song  of  bondsmen  in  Egypt  and  the  weird  hymns  of  bonds- 
men in  America.  Who  has  heard  the  resounding  plantation 
chorus,  "  Tell  ole  Pharaoh,  let  my  people  go  !"  without  a  mys- 
terious feeling  that  the  refrain  was  much  older  than  our  late 
"  patriarchal  institution  ?"  Many  such  tunes,  if  rude  in  form, 
have  the  rare  merit  of  naturalness,  and  are  full  of  power  and 
pathos.  The  defect  which  strikes  the  ear  is  often  that  of  un- 
skilled rendering.  The  vociferous  plantation  bawler  who,  when 
checked,  uttered  the  answer,  '*  The  good  book  says,  Hollardhz. 
Thy  name,"  but  expressed  the  apparent 'sense  of  duty  of  many 
estimable  and  misguided  persons  as  to  congregational  singing. 

The  lack  of  a  musical  ear,  like  color-blindness,  is  a  great 
deprivation.  Early  musical  education  will,  however,  in  great 
measure  supply  the  defect,  and  instruction  in  singing  in  many 
parts  of  the  Union  has  been  the  invariable  associate  of  the  day- 
school  and  the  church.      In  the  earliest  days  of  colonial  history, 


MUSIC  AND   WORSHIP.  139 

it  is  said  that  the  "  sounding  isles  of  the  dim  woods  rang  with 

songs  of  lofty  cheer,"  in  which  the  Pilgrim  fathers  found  utter- 
ance for  faith  and  hope,  undaunted  by  difficulties.  The  first 
publication  of  the  Xew  England  free  press  was  a  psalm  book  ; 
and  upon  the  solid  basis  of  Sternhold  Hopkins  how  many  an 
enduring  musical  edifice  has  been  reared,  until  the  Oratorio 
Society  has  taken  the  place  of  the  winter  singing-school,  and 
the  great  organ  of  Boston's  Music  Hall  that  of  the  old-time 
tuning-fork,  by  which  the  hymns  in  the  meeting-house  were 
"  pitched"  in  more  senses  than  one.  The  popularity  from 
Maine  to  India  of  music  such  as  that  of  the  Moody  and  Sankey 
hymns  is,  I  believe,  susceptible,  did  space  here  permit,  of  an 
explanation  which,  without  sacrificing  principles  of  art,  yet 
justifies  the  use  of  whatever  will  bring  the  Gospel  in  mu.sic 
home  to  those  to  whom  better  music  is  as  yet  unintelligible.  Is 
not  simple  congregational  singing  one  of  the  greatest  of  the 
undeveloped  powers  of  Christendom  ?  Sir  Henry  Cole  not 
long  since  made  a  valuable  suggestion  to  his  vicar,  somewhat 
as  follows  :  "  Doctor,  the  people  arc  very  fond  of  music,  and  I 
think  if  you  were  to  invite  them  to  come  to  the  church  once  a 
week  and  allow  them  to  take  part,  giving  them  as  much  simple 
music  as  they  can  well  sing  and  understand,  you  will  find  they  will 
come.  Let  all  the  seats  be  free  ;  let  there  be  a  sermon,  but 
not  to  exceed  ten  minutes  ;  let  them  have  five  or  six  hymns  or 
psalms  to  good  old  tunes  ;  and  if  the  hymns  be  accompanied  by 
instruments  properly  administered,  I  am  sure  it  will  produce  a 
good  effect."  "  So,"  says  Sir  Henry,  "we  had  silver  trum- 
pets, two  trombones,  and  two  kettledrums,  and,  I  declare,  if 
they  were  the  last  words  I  had  to  speak,  I  never  heard  anything 
more  solemn.  My  friend,  the  doctor,  was  the  one  who  dis- 
turbed the  regulations  by  preaching  seventeen  minutes  inst 
of  ten.  The  church  was  crowded,  they  sang  their  hymns,  and 
each  week  the  crowd   i:  '.     I   met  a  member  of   Parlia- 

ment at  the  church,  and  he  said  to  me,  "  I  :  ling 

rvice  ;    I  never  heard  anything  more   afl 
The  offertory  paid  the  expenses.   If  you  wish  !•»  t.il  pie 

away    from    public    1  rhaps   fatally   inn 

horn;  :    might    do    it    by   a    very   simple   proccsa  in  your 

church,  if  you  tried  it." 


140  THE  PRINCETON  REVIEW. 

Imagine  such  frequent  services  of  song  in  Washington  with 
members  of  Congress  in  tears  !  Surely  to  a  much  more  general 
extent  than  at  present,  those  responsible  in  great  measure  for 
the  prosperity  and  righteousness  of  the  nation  need  to  humble 
themselves  before  God  in  his  house,  that  they  may  receive 
divine  illumination. 

Why  is  not  the  Christendom  of  to-day  guiding  the  art  of 
the  world,  crowding  canvas  with  noble  productions,  producing 
works  of  sculpture  surpassing  the  master-pieces  of  heathen  art, 
erecting  cloud-piercing  spires  and  long-drawn  aisles  and  vast 
cathedrals,  gathering  into  noble  monumental  and  useful  struc- 
tures the  scattered  wealth  of  our  needlessly  multiplied  churches 
and  of  our  feeble  or  questionable  church  architecture  ?  Be- 
cause, without  Christian  unity,  the  heart  of  Christendom  lan- 
guishes, being  "  divided  against  itself." 

Piled  up  in  the  principal  cemeteries  of  our  cities,  you  may 
find  monuments  of  marble  and  carved  stone  and  metal  unartis- 
tically  designed  and  wasting  a  wealth  of  material  which,  were 
we  Christians  united,  would  have  built  cathedrals  all  over  the 
land  and  endowed  colleges  and  memorial  hospitals  and  schools, 
dwarfing  the  architectural  achievements  of  the  past.  For  wc 
have  added  resources  of  engineering  and  construction  and 
material,  just  as  the  multitude  of  modern  musical  instruments 
opens  up  a  new  world,  as  it  were,  for  the  progress  of  music  ; 
while  the  inspiration  of  the  artist  would  not  be  lacking,  were 
Christendom  united.  For  this,  time  is  not  ripe,  and  we,  like 
our  forefathers,  are  not  worthy  to  see  that  day  ;  we  might  be 
tempted  to  do  as  they  did  who  used  the  strength  of  unity  for 
purposes  of  religious  oppression  and  persecution.  Better  perish 
Christian  unity  and  united  effort  and  all  triumph  of  sacred  art, 
than  that  liberty  should  again  be  lost  !  The  world  must  wait 
until  music,  teaching  us  harmony  despite  diversity,  and  liberty 
as  consistent  with  law,  can  pave  the  way  for  the  restoration  of 
Christian  unity.  Then,  united  patronage  and  wealth  and  the 
true  Christian  "  time-spirit"  will  make  the  Church,  mistress  of 
all  the  arts  as  she  has  been  already  the  nursing  mother  of  music, 
which  is  supremely  the  art  of  the  nineteenth  century  and  of  the 
future.  Music  and  worship  cannot  be  divorced  nor  left  to  live 
but  coldly  together,  without  injury  alike  to  art  and  to  religion. 


MUSIC  AXD   W OR SI/ IP.  141 

Wintcrfcld  dates  the  decline  of  sacred  art  from  the  time  when 
it  "  contracted  that  fatal  taint"  which  degrades  it  to  the  service 
of  sensual  pleasure. 

If  music  and  its  sister  arts  owe  much  to  the  fostering 
and  ennobling  influence  of  the  Christian  Church,  it  is  equally 
true  that,  in  view  of  popular  religious  movements,  and  of 
exalted  services  of  worship,  the  Church  also  owes  a  debt  to 
music  which  it  should  endeavor  to  repay  by  ever}'  means  in 
its  power.  Let  the  Church  then  seek  to  advance  musical  culture 
and  to  encourage  the  production  and  execution  of  the  greatest 
musical  works.  Since  as  a  nation  wc  are  neither  Anglo-Saxon 
nor  Oriental  nor  Occidental  exclusively,  since  all  peoples  gather 
here  to  become  one  under  one  government,  the  church  music 
of  the  future  cannot  be  exclusively  of  any  one  of  the  old 
schools,  but  must  combine  their  excellences,  and  grow  from  its 
own  soil  as  they  did  from  theirs.  Even  now,  but  in  the  infancy 
of  its  Christian  civilization,  for  this  nation  in  this  broad  land 
and  in  the  illimitable  future,  what  triumphs  may  not  sacred 
art  achieve  ! 

T<>  pursue  the  subject  of  music  and  worship  further  would 
lead  us  far  beyond  our  limits  into  the  great  tone-world  of 
modern  life  and  thought.  The  marvellous  progress  of  modern 
music  presents  one  of  the  most  brilliant  and  fascinating  chap- 
ters of  art  history.  The  achievements  in  the  range  and 
compass  and  multiplication  of  instruments  and  in  the  knowl- 
edge and  application  of  the  laws  of  sound  form  a  grand  and 
startling  chapter  in  the  revelations  of  science.  While  treating 
the  relations  of  the  fine  arts,  and  especially  of  music  as  an  art, 
to  Christianity,  we  have  yet  another  topic  worthy  of  a  separate 
paper.  Of  Christianity  it  has  been  well  said  th.it  while  no  art 
is  more  fit  emblem  of  her  work,  none  can  more  efficiently 
that  work  in  the  present  day  than  music.  What,  then,  ought 
to   be   done,  and   done   at    once,    for  music    in    its   relation 

tfldurfve  to  true  progress  in  this  matter,  a  prin- 
ciple should  be  enforced  which  is   not   new  but   which  has  been 
eted — that  church  music  should  express  the  worth- 
iest worship  which   wc   can    render   to  God,  and  should  ten 
the  highest  edifi(  ipper.     In  prop 

tical   m<  the   suggestion    most   commonly   1; 


142  THE  TRIXCETON  REVIEW. 

abolish  the  quartette  choir.  Not  the  number  of  performers  but 
the  spirit  of  display  often  seen  in  quartette  and  similarly  con- 
stituted choirs,  and  the  unseemly  music  generally  chosen,  are 
the  objectionable  things.  But  the  quartette  choir  has  been 
often  deserving  of  the  highest  praise  for  the  painstaking  and 
devout  fidelity  of  its  members.  At  worst,  it  is  but  one  of  the 
steps  from  a  defective  past  to  a  better  future.  That  which  we 
deprecate  is  the  tendency  to  exhibit  individual  talent  rather 
than  to  exalt  worship.  The  effort  and  the  outlay  seem  often- 
cst  directed,  not  to  the  edification  of  the  hearer,  but  simply 
to  the  performance  of  elaborate  music,  generally  unskilfully 
composed  and  defectively  rendered.  I  have  heard  at  the  close 
of  a  sermon  on  the  last  judgment  the  beautiful  hymn,  "  Nearer, 
my  God,  to  Thee,"  in  which  the  whole  congregation  could  have 
joined  and  thus  have  deepened  the  impression  of  the  sermon, 
rendered  as  a  solo  to  a  flippant  secular  melody. 

By  the  adoption  of  a  good  hymnal  giving  both  words  and 
music  ;  by  frequently  using  a  few  of  the  noblest  hymns  till 
they  become  beloved  and  familiar  as  household  words  ;  by 
leading  the  melody  clearly  and  distinctly  either  by  a  trumpet 
or  by  the  human  voice  ;  by  making  the  Sunday-schoof  in  some 
measure  and  in  the  best  sense  of  the  term  a  Christian  singing- 
school,  congregational  singing  can  be  developed.  Psalm  or 
hymn  singing  is  a  mode  of  worship  in  which  Christians  of  every 
name  can  unite.  We  lament  the  lack  of  Christian  unity.  There 
is  ample  room  for  an  effort  towards  its  restoration  on  this  broad 
basis  of  co-operation.  Choir  unions  or  great  gatherings  for 
culture  in  the  art  of  spiritual  song  are  almost  everywhere  practi- 
cable. And  Christian  unity  would  thus  secure  incidental  influ- 
ences of  no  slight  value  ;  for  while  in  melody  we  have  the  suc- 
cession of  single  sounds  in  obedience  to  law  even  as  individuals 
and  churches  follow  some  particular  rule  or  use,  so  in  harmony 
we  have  the  blending  of  all  in  one  as  in  the  universal  ever-living 
Church  of  Christ,  in  which,  without  the  surrender  of  individual- 
ity, all  may  harmonize  in  love  to  one  another  and  in  filial  obedi- 
ence to  the  perfect  will  of  God.  Thus  music  in  worship  con- 
duces to  Christian  unit}'. 

Yet  other  Christian  uses  of  music  as  connected  with  worship, 
together  with  practical  suggestions  as  to  musical  training  and 


MUSIC  AND   WORSHIP.  M3 

the  development  of  correct  musical  taste,  are  too  numerous 
and  varied  to  be  mentioned  even  with  a  passing  word.  I 
am  convinced  that  much  more  rapid  and  satisfactory  pi 
ress  would  be  secured  if,  taking  a  lesson  from  what  has 
been  well  done  by  others  at  home  and  abroad,  we  should 
give   systematic    attentj  hurch    music,   not   only  in    our 

schools  and  colleges,  but  especially  in  our  theological  semi- 
naries, so  that  the  clergyman  should  enter  upon  his  professional 
work  furnished  not  only  with  the  authority  but  with  the  edu- 
cated ability  to  criticise  with  judgment  and  to  improve  by  his 
own  intelligent  influence  the  music  of  his  cure.  With  God's 
blessing  here  as  elsewhere,  true  progress  depends  upon  man's 
effort,  for  man  is  the  crown  of  things,  and  at  his  best  estate 
he  is  the  embodiment  of  harmony,  as  Dryden  so  eloquently 
sang  : 

"  From  harmony,  from  heavenly  harmony, 
This  universal  frame  began. 
When  nature  underneath  a  heap 
Of  jarring  atoms  lay, 
And  could  not  heave  her  head, 
The  tuneful  voice  was  heard  from  high, 
Arise  !  ye  more  than  dead. 
Then  cold  and  hot  and  moist  and  dry 
In  order  to  their  stations  leap 
And  Music's  power  obey. 
From  harmony,  from  heavenly  harmony, 
This  universal  frame  began  : 
From  harmony  to  harmony 
Through  all  the  compass  of  the  notes  it  ran, 
The  diapason  closing  full  in  Man.'' 

E.   X.  P<  »tti:r. 


The  following  articles  are  published  from  the  office  of  the 
PRINCETON  REVIEW,  37  Park  Ram,  Nam  York. 

and  can  be  obtained  from  all   Booksellers  and  N*Wl dealers  at  livt   Cents 

each  : 

1.  LOCAL  GOVERNMENT:  AT  HOME  AND  ABROAD,  J-ly, '79. 

ROBERT    P.   PORTER,  Esq.,  Chicago. 

2.  THE    PULPIT  AND    POPULAR    SKEPTICISM,         .         .     Mak 

Rev.   PHILLIPS    BROOKS,   D.D.,   Boston. 

3.  THE    RIGHTS    AND    DUTIES    OF    SCIENCE,    .         .         .    New,  '78. 

Principal   DAWSON,   F.R.S.,   D.C.L.,   McGill  University,   Montr-al. 

4.  FORCE,   LAW,  AND    DESIGN May   '79. 

President  PORTER,   D.D.,   LL.D.,  Yale  College. 

5.  AMERICAN    ART:    ITS    PROGRESS   AND    PROSPECTS,   Ma, 

JOHN    F.   WEIR,   N.A.,  School  of  Fine  Arts,  Yale  College. 

6.  FINAL  CAUSE:    M.  JANET  AND   PROF.   NEYVCOMB,    .    Mak.,  '79. 

President  McCOSH,  D.D.,   LL.D.,   Princeton  College. 

7.  ENGLAND  AND  HER  COLONIES May 

JAMES  ANTHONY  FROUDE,   D.C.L.,   London. 

S.     CLASSICS  AND  COLLEGES July 

Prof.   B.  L.  CILDERSLEEVE,   LL.D..  Johns  Hopkins  University. 

9.     THE  ANGLO-CATHOLIC    MOVEMENT Sf.pt., '7s. 

The  Right  Rev.  the  LORD  BISHOP  OF  GLOUCESTER  AND  BRISTOL. 

ic.     MAN'S  PLACE  IN   NATURE Nov., '7s. 

Prof.  JOSEPH  LE  CONTE,  LL.D.,   University  of  California. 

11.  THE  AIM   OF   POETRV Skpt., '7S. 

Principal  SHAIRP,    D.C.L.,    Univers.ty  of  St.   Andrews. 

12.  THE  IDEA  OF  CAUSE May,  '79- 

Prof.    FRANCIS  BOWEN,   Harvard   Cohere. 

13.  MUSIC    AND    WORSHIP July, 

President  POTTER,   D.D..   LL.D..  Union  College. 

14.  NATIONAL  MORALITY 

EDWARD  A.   FREEMAN,   D.C.L..   LL.D..   England. 

15.  THE   EUROPEAN    EQUILIBRIUM 

THEODORE    D.   WOOLSEY,  D.D..   LL.D.,   E<  Pr...d«.l  ot  YaU  College. 

16.  CHRISTIANITY  IN  THE  UNITFD  STATES.      . 

PHILIP  SCHAFF,   DO.,   LL.D.,  Un.cn  Theol.  Sen, 


I 


Cavlonl  Bros. 
Ifal 
icnse,  N.  N 

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